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This study is based on the notated repertory in the Greek Oktoechos prior to the 13th century. The notated Ocktoechos was included as the last section of one of the principle notated books – the Sticherarion. Four cycles were systematically notated in the early (pre-thirteenth-century) Greek Sticheraria– the anatolika and alphabetika stichera with theotokia, usually attributed to John of Damascus, the anabathmoi attributed to Theodore the Studite, and eothina stichera attributed to Emperor Leo VI the Wise. Some sources featured also the exaposteilaria attributed to Emperor Constantine VII Porphyrogennetos. These notated cycles are explored here in the context of the Typika used at the time – the Hypotyposis of Theodore the Studite, the Typikon of Alexios the Studite, and the Typikon of Evergetis. The early copies of the Hypotyposis do not mention the anatolika and alphabetika stichera. The Typikon of Alexios the Studite, which is based on the earliest copies of the Hypotyposis from the second half of the 10th century, prescribes only resurrectional stichera after both Psalm 140 at Vespers and Psalms 148-150 at Orthros. The Typikon of Evergetis, which reveals a very strong neo-Sabaite influence, already prescribes the anatolika and the alphabetika stichera. Hence, we consider the 11th century a watershed in the formation of the notated repertory of the Oktoechos. We propose that the four cycles included in the earliest notated Oktoechoi were probably notated because they were new for the liturgical practice in the region of Constantinople from the 9th through the 11th centuries (as either newly compiled or newly composed works).
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The article examines the subjective aspect in concert reviews by Estonian music critic, pianist, teacher and music historian Aurora Semper (1899–1982), investigating whether and how different socio-political context influenced the manifestation of Semper’s subjective evaluations and taste in her writings for the newspapers Postimees (1938–1940) and Sirp ja Vasar (1956–1965). The paper focuses on the question of to what extent Semper’s subjective aesthetic understandings developed by the 1930s, such as seeing chamber music at the top of the hierarchy of musical genres, her educational background, including piano studies and the experience of West European musical life, were expressed during the Soviet regime with its demands on re-evaluation of music according to the Marxist-Leninist ideology. Comparing Semper’s reviews written in the late 1930s and 1960s, enough common features emerge. The found similarities include the preference for chamber music/ensembles and symphony concerts as well as the focus on the performance aspect, interest in historical issues and the observation of the long-term development of the collective/artist. Also, the attitude towards contemporary music is generally supportive and favourable. As a difference, one can notice the absence of stage works’ reviews in Semper’s Soviet-era writings and a stronger ideological message which is not emphasized but which Semper expressed when necessary in her attitudes, as well as the use of language and emphases. It can therefore be concluded that Aurora Semper’s subjectivity, which was strongly shaped by her studies in Europe (Germany, France) in the 1920s, broad mind and curiosity for knowledge, marriage to an intelligent and tolerant writer and politician Johannes Semper, music history teaching experience and a delicate character, became visible in the relatively free press of the independent Estonia in the 1930s and remained generally unchanged, despite the new socio-political context, in the much more rigid and ideologically controlled Soviet years.
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Review of: Semerádová, Pavla – Šedivá, Eliška: Catalogus collectionis operum artis musicae de monasterii siloensis. Catalogus artis musicae in Bohemia et Moravia cultae. Artis musicae antiquioris catalogorum series. Vol. IX/1 et 2, Národní knihovna ČR. Praha 2016, 662 s. (2 svazky)
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After World War II, culture became a tool that the communist authorities used to take over the so-called government of souls in Poland. Therefore, they introduced revolutionary changes in that field to bring it in line with the Soviet models. The state was to be the sole patron, setting the directions for artists to follow, and the relevant party bodies or institutions were to control creative processes to ensure that they did not become distorted in a way inconsistent with the prevailing ideology. According to the theorists, this was the only way to ensure more efficient management of culture and a better understanding of its needs. The communists used creators for their own purposes in a utilitarian way and, at the same time, they pushed those who refused to comply to the margins of social life. The article is an attempt to describe the state of research in the period from the publication of the 2014 issue of “Memory and Justice” dedicated to the subject in question until today. For over a dozen years, scientific research has been conducted in that field, the purpose of which is to explain and describe the mechanisms of the authorities’ influence on creative circles in the period from 1944 to 1989. The progress made is noticeable, although the degree to which individual environments are described greatly varies. The best results have been achieved in the field of writers or filmmakers, though a lot of work still needs to be done when it comes to musicians or visual artists.
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The musical Zielona Góra was known in Poland mainly for the Soviet Song Festival. Above all, the city had a different life – the local one. In Zielona Góra, the interest in big-beat music began in the 1960s. In 1963 the band Lubusze was founded, basing its repertoire on the music of The Shadows. Jolanie and Inni soon gained popularity in the Lubuskie region. Both groups were established in 1966. They were successful in national and regional competitions. In 1969 Jarosław Kukulski founded the band Waganci, basing it on former musicians of Jolanie. His band appeared in the audience’s nationwide consciousness and Kukulski himself, together with his wife Anna Jantar as a singer, became a famous musician and composer. In 1970, Polish big-beat began to transform into “real” rock music. In Zielona Góra, on the other hand, new groups important for the region were created, including Akces and Układ. At that time, various types of wedding and dance ensembles were already forming, created for profit. There were difficulties in finding musicians in the city who would like to play their own songs. Other difficulties were, among others state control and little media interest – especially nationwide ones. When Akces broke up, some of its musicians created the Weekend, which was one of the last manifestations of the artistic activity of musicians coming from the big-beat generation.
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Review of: Alicja Szlazakowa: Janucz Korczak, Bratislava 1984, 89 S. Joža Karas: Music in Terezín 1941—1945, New York 1985, 223 pages Alena Hájková: Komika jako nástroj kritiky maloměšťáctví v díle Karla Poláčka (Die Komik ais Instrument der Kritik am Kleinbürgertum im Werk des Karel Poláček), Studie CSAV 7, Praha, Academia 1985, 109 S., russisches Resümee Thérèse und Mendel Metzger: Jüdisches Leben im Mittelalter nach illuminierten hebräischen Handschriften vom 13. bis 16. Jahrhundert. Edition Popp, Würzburg, Verlag GmbH et Co., 1983, 324 Seiten Holzschnitte und Plastiken von Leopold Hecht
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New Exhibition of the Synagogue Textiles Collection of the State Jewish Museum in Prague; The Exhibition „The Old Jewish Cemetery in Prague in the Works of Romantic Painters“; Exposition itinérante des dessins d’enfant de Terezín en Italie; Musik in den Konzentrationslagern; The Results of Two Years’ Work on the Restorations of the Memorial to the Victims of Nazism in the Pinkas Synagogue; Die Restaurierung der Grabsteines von Hendl Bassewi auf dem Alten jüdischen Friedhof in Prag
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Reviews of: 1. Ludmila Vrkočová: Hudba terezínského ghetta (Die Musik des Theresienstädter Ghettos) Jazzpetit 8/1981, 43 Seiten mit 51 Bildbeilagen 2. Witold J. Tyloch: Gramatyka jçzyka hebrajskiego. Wydawnictwo Uniwersytetu Warszawskiego, 1980 3. Martin Litvin: The Journey. Galesburg Historical Society, Galesburg, Illinois, 1981. XL + 473 pages, 22 plates
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Review of: Phonographic Encounters: Mapping Transnational Cultures Of Sound, 1890–1945. Editors: Elodie A. Roy and Eva Moreda Rodríguez Abingdon and New York: Routledge, 2022. ISBN: 978-0-367-43921-7 (hbk); ISBN: 978-1-032-05711-8 (pbk); ISBN: 978-1-003-00649-7 (ebk); DOI: 10.4324/9781003006497.
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The article investigates the connection between the early record industry and the development of copyright legislation in Croatia and the former Yugoslavia between 1929 and the 1960s. Special attention is given to the topic of the implementation of copyright and the related rights within domestic record production in the selected period. The concept of the author, partly constructed through the implementation of copyright, is then reconsidered in the example of early Yugoslavian popular music.
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The creators of opera in Italy at the end of the 16th century gave great importance to the choice of their subject matter in order to reproduce an overall work of art according to the archetype of ancient Greek tragedy. During its progressive course, opera underwent changes, in which libretto and its subject matter constituted major issues of study and criticism and were reformed according to the style of each period but always with quality as a keystone. The present study examines the formation of the Italian opera based on the choice of the librettos from its birth to the first Italian reform.
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Russian-Serbian cultural connections in a broader sense, represented through direct parallels in Russian and Serbian sacral painting, architectural decoration, sacral interior design and phenomenа in court art canons of the last Romanov’s and Karađorđević’s dynasties are insufficiently researched. By using the concrete monuments, mostly in Russian style, Russian symbolism and Art Nouveau, but also the court canon at the turn of the century in Russia through the works of Russian emigrants after the October revolution in Serbia during the 1920s and 1930s, the use of Russian pictorial features and cultural models adapted to Serbian demands is going to be demonstrated.
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The search for the unexplained interactions of domestic medieval liturgical music and sacred architecture of the Moravian style has not been the subject of interdisciplinary study so far. А reflection on the potential relationg between church chanting and architecture is absent from the largest part of the existing literature on the development of medieval sacral art. Te scarcity of writen historical sources, and especially musical ones, made it particularly difcult to defne the connection between the chanting circumstances and the changes in the architectural form of the late Byzantine period, which is almost a standardized Moravian architectural form. The earliest preserved bilingual – Greek-Slavic neumatic manuscripts, mentioning both the names of the frst famous Serbian medieval composers, and the more or less well known late Byzantine musicians who had actively participated in the earliest religious services of the Serbian Church, confirm that the culmination of the chanting art in Serbia occured precisely at the turn of the 15th century and then until the fall of Serbia under Turkish rule. Comparing the available data, with a general insight into the migration fows that led to the Byzantinization of Serbian culture in that period, showed that afer the reconciliation of the Serbian Patriarchate and the Patriarchate of Constantinople, in 1374, the world-class building tradition was adopted, which until then was sporadically seen on the Serbian soil. Te architectural form of the Moravian style would become recognizable by the singing apses in the axis of the transept, in the middle of the already adopted form of the inscribed cross from the early 14th century. Within the framework of the overall church, political and cultural transformation that was visible in Serbian society, the chanting practice of the Serbian Church, or more precisely the greater affirmation of the liturgical art and the increase in the number of the chanters, certainly had a share both in acceptance and in the consistent implementation of the architectural solutions of the Moravian style. Future research should focus on the holistic analysis of the Moravian cultural heritage, in order to map the movement of the known and unknown Serbian Greek melods and determine the scope of their activity. Te existing knowledge of the architectural features of the Moravian sacred buildings will thus receive a signifcant addition, from the liturgical and religious service in which each form of church art is individually represented as part of a much more complex artistic ensemble with which the Kingdom of Heaven on the Earth is iconized.
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The organization of musical life of Belgrade as the capital of the newly founded Kingdom of Serbs, Croats and Slovenes was characterized by eforts towards a material, economic and cultural consolidation of the city afer a war disaster; thus the mapping of continuity with pre-war traditions acquired a special signifcance. Te frst joint performance of Belgrade choirs in peacetime conditions, organised by the Belgrade Choral Society (1919) and dedicated exclusively to Mokranjac’s output testifed to that efect. Soon there followed four similar events (1922– 1923), and then a manifestation of the transfer of Mokranjac’s remains from Skopje to Belgrade (1923). Te aim of this article is to examine these events as the frst, though belated (due to war circumstances) cases of memorizing Mokranjac afer his death in 1914. Tis research has taken into account the processes of canonization of Mokranjac that had begun even during his lifetime, and the critical examination of the canon is complemented by theoretical elements from memory studies, because these events are about a (re)interpretation of the canon of national art music through strategies of memorialization. Concerts and narratives that are directly related to them are marked as artistic memorials to Mokranjac; aferwards, I analyzed the commemoration ceremony itself. Considering the results of the analysis, I concluded that these were two types of memorizing Mokranjac, one of which was in the domain of the professional music elite, while the other one acquired the proportions of the national-state event. Accordingly, they also ofered two kinds of national memory. On the one hand, the version presented by the representatives of the elite contributed to the canonization of Mokranjac and the creation of national memory within the dominant group in the field of music which, through its narrative about Mokranjac, expressed its own aesthetic orientation and reinforced its social positions. On the other hand, the mass gathering of various representatives of the state, civil institutions and citizens pointed to the apposite narratives of glorifying Mokranjac, while loading the ideology of the ofcial state apparatus and puting memories of Mokranjac into desirable Yugoslav frameworks.
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The gramophone record industry had developed in the Yugoslav region from the beginning of the 20th century. The paper is based on an analysis of the corpus of 78 rpm records of singing with gusle accompaniment, which were produced between 1908 and 1932. Available recordings highlight the issue of representing both the epic and the gusle playing tradition in this media format and its relationship with “unmediated” live gusle playing practice. Therefore the authors opted to analyze gramophone records as both a text in culture and an actor in tradition. After introductory theoretical and methodological remarks, the authors offer a brief description of the historical, political and socio-cultural context that emphasized epic singing with gusle accompaniment as a representative traditional genre in this area. For that reason it was noteworthy for both western and local production companies which made recordings in the Balkans (Deutsche Grammophon Gesellschaft mbH., Odeon Records, Marsh Laboratories, Inc., Edison Bell Penkala Ltd.). Analysis of the recordings is focused on examination of the way in which gusle players responded to different requirements of the new media (e.g. the insufficient capacity of a record itself compared to the usual duration of a performance; the reduction of a complex form of artistic communication to an oral, auditory message, while additional forms of non-verbal communication are excluded). Through discussion of the treatment of verbal and musical components of the recorded performances it has been shown that tradition was simultaneously exemplified and reshaped by this new medium. In addition to the guslars themselves, being already recognized artists in this traditional genre and the acoustic source (the voice accompanied by the gusle), the representative base of the epic tradition comprised traditional (poetic) texts, although modifications / innovations are recognizable at different levels of verbal content, as well as on the level of music interpretation. On these bases, it is possible to talk about the contribution of new media to the professionalization of guslars’ practice and the creation of “stars” among them on the one hand, and the progressive transformation of once-active audience members (in the sense of potentially exchangeable performer / listener positions) into passive buyers and consumers, on the other. It is noted that these, first gramophone records of guslars had a great role in and impact on the survival of the epic singing tradition, brokering its promotion in urban areas and among the “cultural elite”. Finally, in this way they contributed to the strengthening of this tradition in a historical period that brought disintegration of the system of traditional culture and “crisis” of the most of the current classic folklore genres.
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Through rhythm-typological analysis and cartography the author has detected a similarity in the typological structure of early traditional musical forms belonging to agricultural and wedding genres on the territory which unites Ukraine, Belarus (within its ethnic area at the beginning of the 20th century), Eastern Poland (the Vistula river basin), and Lithuania (Dzūkija and Aukštaitija).. This concerns several dozen song types, composed of items from a common grammatical base, forming the UkrainianBelarusian-Polish early-traditional melo-massif ‒ UBPEM. These types share interethnic (2-4-lingual) areals, which do not correlate with linguistic ones.
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Although ethnochoreology and ethnomusicology as related academic disciplines have decades-long histories, reviewing and redefining their basic epistemological and methodological principles remained one of the main focuses of disciplinary discussion. Most ethnochoreologists and ethnomusicologist agrees that “field” work (in all its traditional and contemporary forms) remains an essential and constitutive quality of their research and disciplinary fields. The inherent interdisciplinary networking of ethnochoreology and ethnomusicology starts from the theoretical premise that the relationship between the kinetic and musical components of dance is not only unbreakable, but also interactive, and that complex and dynamic manifestations of dance performances represents an expressive medium through which a particular community constructs and represents itself. Since the importance of the individual experience of researchers has been ephasized during the last few decades, a comprehensive method of participant observation remains a central and unifying aspect of fieldwork, both in ethnochoreology and ethnomusicology. Based on field research of musical and dance practices of the village of Svinica (Sviniţa) in Romania, this paper reviews the application and combination of various methods of field research (observation, participation in the performance process, filming, interviews and writing field notes) as the primary tools for the acquisition and shaping of scientific knowledge about dance and music. Issues that will be discussed include the following questions: What are the advantages of personal kinetic/auditory experience during simultaneous perception of dance movement and dance music? How can different methods of field research be combined in order to improve cognitive processes? Are there border areas between ethnochoreological and ethnomusicological fieldwork? Does the variety of methods of field research represents a weakness of the interdisciplinary approach or its advantage? On which information recorded during the fieldwork does a researcher usually build his post-field ethnochoreological/ethnomusical narratives? Through discussion of all these issues, particular emphasis will therefore be placed on the consideration of processes of memorization (visual, auditory and kinetic) when applying the method of participation in the dance performance.
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The International Society for Ethnology and Folklore (Société internationale d’ethnologie et de folklore — SIEF) is a professional organisation that assembles ethnologists, anthropologists, folklorists, ethnomusicologists, linguists, sociologists and others. The Society held its 12th Congress in Croatia in June 2015 with the theme Utopias, Realities, Heritages: Ethnographies for the 21St Century, assisted by local organizers, the Department of Ethnology and Cultural Anthropology of the Faculty of Humanities and Social sciences of the University of Zagreb, and the Institute of Ethnology and Folklore Research in Zagreb. Although one of the largest humanities conferences in the region, it attracted many scholars from other parts of the world, who offered contributions on various topics related to the conference theme: archives, body/embodiment, digital/virtual, disciplinary discussions, food, gender and sexuality, heritage, home, migration/borders, museums, narrative, politics and social movements, religion, rural, socialist, post-socialist and urban studies, including music. Thus, it is understandable that throughout the conference there were continuous sessions showing ethnographic films, since they, as a medium, potentially encompass all humanities and social sciences.
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